Surf aces resurfaced: The Beach Boys and the greening of the American counterculture, 1963-­1973

The\ud rise\ud of\ud the\ud American\ud counterculture\ud between\ud the\ud early-­‐\ud to\ud mid-­‐1960s\ud and\ud early-­‐\ud to\ud mid-­‐1970s\ud was\ud closely\ud associated\ud with\ud the\ud growth\ud of\ud environmentalism.\ud This\ud article\ud explores\ud how\ud both\ud informed\ud popular\ud music,\ud which\ud during\ud these\ud years\ud became\ud not\ud only\ud a\ud prominent\ud form\ud of\ud entertainment\ud but\ud also\ud a\ud forum\ud for\ud cultural\ud and\ud social\ud criticism.\ud In\ud particular,\ud through\ud contextual\ud and\ud lyrical\ud analyses\ud of\ud recordings\ud by\ud The\ud Beach\ud Boys,\ud the\ud article\ud identifies\ud patterns\ud of\ud change\ud and\ud continuity\ud in\ud the\ud articulation\ud of\ud countercultural,\ud ecological,\ud and\ud related\ud sensibilities.\ud During\ud late\ud 1966\ud and\ud early\ud 1967,\ud the\ud group’s\ud leader\ud Brian\ud Wilson\ud and\ud lyricist\ud Van\ud Dyke\ud Parks\ud collaborated\ud on\ud a\ud collection\ud of\ud songs\ud embodying\ud such\ud progressive\ud thinking,\ud even\ud though\ud the\ud music\ud of\ud The\ud Beach\ud Boys\ud had\ud previously\ud shown\ud no\ud such\ud ambitions.\ud In\ud the\ud short\ud term,\ud their\ud efforts\ud floundered\ud as\ud the\ud risk-­‐\ud averse\ud logic\ud of\ud the\ud commercial\ud music\ud industry\ud prompted\ud group\ud members\ud to\ud resist\ud perceived\ud threats\ud to\ud their\ud established\ud profile.\ud Yet\ud in\ud the\ud long\ud term\ud (and\ud ironically\ud in\ud the\ud name\ud of\ud commercial\ud survival),\ud The\ud Beach\ud Boys\ud began\ud selectively\ud to\ud adopt\ud innovations\ud they\ud had\ud previously\ud shunned.\ud Shorn\ud of\ud its\ud more\ud controversial\ud associations,\ud what\ud had\ud formerly\ud been\ud considered\ud high\ud risk\ud had\ud by\ud 1970\ud become\ud good\ud business\ud as\ud once-­‐marginal\ud environmentalism\ud gained\ud broader\ud acceptability:\ud thus\ud did\ud ‘America’s\ud band’\ud articulate\ud the\ud flowering,\ud greening,\ud and\ud fading\ud of\ud the\ud counterculture.El\ud auge\ud de\ud la\ud contracultura\ud americana\ud entre\ud principios\ud y\ud mediados\ud de\ud las\ud décadas\ud de\ud 1960\ud y\ud 1970\ud guarda\ud una\ud estrecha\ud relación\ud con\ud la\ud expansión\ud del\ud movimiento\ud ecologista.\ud Este\ud artículo\ud explora\ud el\ud modo\ud en\ud que\ud ambas\ud corrientes\ud dieron\ud forma\ud a\ud la\ud música\ud popular,\ud un\ud medio\ud de\ud expresión\ud que\ud se\ud convirtió\ud en\ud una\ud destacada\ud forma\ud de\ud entretenimiento\ud y\ud un\ud foro\ud de\ud crítica\ud cultural\ud y\ud social\ud durante\ud el\ud período\ud analizado.\ud Más\ud específicamente,\ud se\ud emplea\ud el\ud análisis\ud contextual\ud y\ud lírico\ud de\ud las\ud grabaciones\ud de\ud los\ud Beach\ud Boys\ud para\ud identificar\ud patrones\ud de\ud cambio\ud y\ud continuidad\ud en\ud los\ud movimientos\ud contracultural\ud y\ud ecologista,\ud y\ud otros\ud afines\ud a\ud ellos.\ud Entre\ud finales\ud de\ud 1966\ud y\ud principios\ud de\ud 1967,\ud Brian\ud Wilson\ud (el\ud líder\ud del\ud grupo)\ud y\ud el\ud letrista\ud Van\ud Dyke\ud Parks\ud colaboraron\ud en\ud un\ud variado\ud conjunto\ud de\ud canciones\ud que\ud encarnaban\ud tales\ud ideas\ud progresistas,\ud aun\ud cuando\ud la\ud música\ud de\ud los\ud Beach\ud Boys\ud nunca\ud había\ud puesto\ud de\ud manifiesto\ud este\ud tipo\ud de\ud ambiciones\ud hasta\ud entonces.\ud A\ud corto\ud plazo,\ud sus\ud esfuerzos\ud fueron\ud en\ud vano,\ud ya\ud que\ud la\ud lógica\ud conservadora\ud de\ud la\ud industria\ud discográfica\ud comercial\ud instó\ud a\ud los\ud miembros\ud del\ud grupo\ud a\ud resistir\ud ante\ud las\ud amenazas\ud que\ud recibía\ud su\ud perfil.\ud Más\ud a\ud largo\ud plazo\ud (e,\ud irónicamente,\ud en\ud nombre\ud de\ud la\ud supervivencia\ud comercial)\ud los\ud Beach\ud Boys\ud comenzaron\ud a\ud adoptar,\ud de\ud un\ud modo\ud más\ud bien\ud escrupuloso,\ud novedades\ud que\ud antes\ud habían\ud evitado\ud debido\ud a\ud las\ud controvertidas\ud asociaciones\ud que\ud permitían\ud establecer.\ud En\ud 1970,\ud lo\ud que\ud antes\ud se\ud consideraba\ud de\ud alto\ud riesgo\ud se\ud había\ud convertido\ud en\ud un\ud gran\ud negocio\ud debido\ud en\ud buena\ud medida\ud a\ud que\ud el\ud ecologismo,\ud otrora\ud marginal,\ud había\ud ganado\ud en\ud aceptación\ud popular;\ud ello\ud llevó\ud a\ud la\ud “Banda\ud de\ud América”\ud a\ud expresar\ud el\ud florecimiento,\ud la\ud madurez\ud y\ud el\ud desvanecimiento\ud de\ud la\ud contracultura

Surf aces resurfaced: The Beach Boys and the greening of the American counterculture, 1963-­1973

The rise of the American counterculture between the early-­‐ to mid-­‐1960s and early-­‐ to mid-­‐1970s was closely associated with the growth of environmentalism. This article explores how both informed popular music, which during these years became not only a prominent form of entertainment but also a forum for cultural and social criticism. In particular, through contextual and lyrical analyses of recordings by The Beach Boys, the article identifies patterns of change and continuity in the articulation of countercultural, ecological, and related sensibilities. During late 1966 and early 1967, the group’s leader Brian Wilson and lyricist Van Dyke Parks collaborated on a collection of songs embodying such progressive thinking, even though the music of The Beach Boys had previously shown no such ambitions. In the short term, their efforts floundered as the risk-­‐ averse logic of the commercial music industry prompted group members to resist perceived threats to their established profile. Yet in the long term (and ironically in the name of commercial survival), The Beach Boys began selectively to adopt innovations they had previously shunned. Shorn of its more controversial associations, what had formerly been considered high risk had by 1970 become good business as once-­‐marginal environmentalism gained broader acceptability: thus did ‘America’s band’ articulate the flowering, greening, and fading of the counterculture.El auge de la contracultura americana entre principios y mediados de las décadas de 1960 y 1970 guarda una estrecha relación con la expansión del movimiento ecologista. Este artículo explora el modo en que ambas corrientes dieron forma a la música popular, un medio de expresión que se convirtió en una destacada forma de entretenimiento y un foro de crítica cultural y social durante el período analizado. Más específicamente, se emplea el análisis contextual y lírico de las grabaciones de los Beach Boys para identificar patrones de cambio y continuidad en los movimientos contracultural y ecologista, y otros afines a ellos. Entre finales de 1966 y principios de 1967, Brian Wilson (el líder del grupo) y el letrista Van Dyke Parks colaboraron en un variado conjunto de canciones que encarnaban tales ideas progresistas, aun cuando la música de los Beach Boys nunca había puesto de manifiesto este tipo de ambiciones hasta entonces. A corto plazo, sus esfuerzos fueron en vano, ya que la lógica conservadora de la industria discográfica comercial instó a los miembros del grupo a resistir ante las amenazas que recibía su perfil. Más a largo plazo (e, irónicamente, en nombre de la supervivencia comercial) los Beach Boys comenzaron a adoptar, de un modo más bien escrupuloso, novedades que antes habían evitado debido a las controvertidas asociaciones que permitían establecer. En 1970, lo que antes se consideraba de alto riesgo se había convertido en un gran negocio debido en buena medida a que el ecologismo, otrora marginal, había ganado en aceptación popular; ello llevó a la “Banda de América” a expresar el florecimiento, la madurez y el desvanecimiento de la contracultura

Perceived importance of herd bull selection criteria of Tennessee beef producers

The purpose of this study was to evaluate the perceived importance of herd bull selection criteria of Tennessee beef producers. This study considered factors important in herd sire selection and respondents rated their importance in selecting and purchasing bulls. The objectives of the study were to (1) describe the respondents demographically, (2) determine the most important criteria used in herd sire selection by Tennessee beef producers who attended the Performance Bull Test Sales from 1992 to 1994, (3) determine if type of farmer, age, type of producer, occupation, size of operation or sale attended relates to the perceived importance of identified selection criteria. This was a descriptive/correlational study which was Ex Post Facto in nature. Secondary data already collected as an on-going experiment by the Animal Science Extension Specialist, Dr. Jim Neel, were utilized. The majority of the respondents were owners and were over the age of 30. The largest percentage of them were commercial cow-calf producers only or cow-calf purebred producers. The respondents indicated that the highest percentage of producers were farming and also that a high percentage of producers had 61 or more breeding females in their herd. Respondents who attended the Performance Tested Bull Sales from 1992-1994 concluded that skeletal soundness was perceived to be a very important selection criteria and the breeder of the bull was rated least important. The respondents also indicated that all selection criteria were important to consider when selecting a herd sire. Scores for the set of criteria were arranged on a Likert-type scale ranging from one, not important to five, very important . Respondents expressed the degree of importance of each selection criteria. No reason exists to Indicate a substantive difference between type of farmer, age, type of producer, occupation, size of operation, or sale attended and respondents\u27 perceived importance of identified selection criteria. A beef producer\u27s perceived importance of selection criteria is an important factor to consider when selecting a breeding animal. The data compiled in this study concludes that all selection criteria were considered important by the respondents. As a result, it is apparent that in the future, beef producers may select for a balance or combination of traits to meet their goals

A study of on-site employee health care clinics and their possible return on investment

Health care costs have accelerated at alarming rates for the last decade, outpacing wage growth and inflation according to The Kaiser Family Foundation... These costs have an impact on everyone. Since 2000, premiums have grown by 73 percent, yet wages have only grown by 15 percent (The Kaiser Family Foundation, 2005)... One alternative being evaluated by organizations is the on-site employee health clinic or OSHEC. The in-house doctor is not a new concept; however, the new approach is more comprehensive, delivering a myriad of services to employees beyond treatment of workplace injuries. The OSHEC has emerged as a more holistic approach to providing employees with quality-affordable health care in a convenient package... This research investigations purpose is to review the concept of the on-site employee health clinic (OSHEC) and evaluate the possible return on investment into such a clinic. This study will provide a qualitative analysis of the OSHEC concept

INDOT eInvoice Application for Consultant Contracts

In 2016, INDOT began the implementation of an electronic consultant invoicing application with nine pilot firms. In March of 2018, the application was rolled out for use with most new consultant contracts. Approximately 2,500 invoices were processed through eInvoice in FY 2019, and INDOT is working on an enhancement retrofit for implementation on earlier contracts. In this session INDOT representatives will review the purpose and features of the application as well as planned future enhancements